show review- The Outliers
Wellington Heritage Museum
From Whence She Came by Lesley Thurston-Brown
Seedwork Wreath from the Ameliasburgh Heritage Village Collection
Seedwork Rising by Valerie Carew.
For the past couple of years at Melt Gallery, we have presented an exhibition called Pairings, where we pair artists and invite them to respond to one another’s work in their own medium. It has been a dynamic and engaging show, and it will return in 2027.
Recently, however, I encountered another local exhibition that takes this concept a step further, pairing contemporary artists with objects from the past. Outliers, co-curated by Jessica Chase from the County Museums and Bear Epp and Bay Woodyard of Gather in the County, is currently on view at the Wellington Heritage Museum until June 14th.
Ten artists working in textiles have created pieces in response to “outlier” objects from the Museums’ collection. Some of these artifacts are ordinary, others obscure, yet all have proven deeply inspirational. Featured artists include Kristy Woudstra, Lesley Thurston-Brown, Valerie Carew, Krista Dalby, Eva Ennist, Deanne Lehtinen (from the duo Look-i-Like), Christina Zeidler (Look-i-Like), Rachel Speirs, Megan Fitzgerald, and Lisa Rich. Artifacts and contemporary artworks are displayed side by side, inviting visitors to trace the connecting threads between old and new.
As I walked through the exhibition, I was struck by the powerful dialogue between past and present. Learning that most museums exhibit only about 10% of their collections at any given time was truly mind-boggling. It left me wondering what stories and hidden treasures lie tucked away in the storage rooms of these institutions, waiting for their moment to re-emerge and inspire.
One of the artists who truly spoke to me was Lesley Thurston-Brown, particularly through her response to the exquisite table and chair pulled from the museum’s storage titled From Whence She Came.. In dialogue with these preserved objects, she created a hand-embroidered apparition and bone cloak made from metal threads, silk, leather, pearl, mother-of-pearl, and repurposed heirloom velvet. Her intricate craftsmanship weaves together themes of memory, history, and presence. The exhibit also includes a poem by Thurston-Brown that beautifully conjures a connection to the past, deepening the emotional impact of her work.
Another work that I found especially inspiring was Seedwork Rising by Valerie Carew. Inspired by a nineteenth-century seedwork wreath from the County Museum’s collection, the original piece was composed of heirloom beans, squash, and grains—many of which are now believed to be extinct. These decorative objects once functioned as sentimental symbols of domestic abundance and preservation.
In her response, Carew reimagines the historical wreath as something alive and in motion. She envisions it sprouting and breaking free from the rigid constraints of its original design. Using hand-hooking techniques and mixed media featuring dyed cattail seeds, she transforms the wreath into a wearable collar. Through this transformation, Carew shifts the object from static display to embodied form, breathing new life into a tradition rooted in memory, craft, and sustenance.
I would be remiss not to mention that this exhibition is beautifully installed in the newly renovated Wellington Heritage Museum, located in the heart of the village of Wellington. Built in 1885 as a Quaker Meeting House, the building itself carries a palpable sense of history, making it an especially fitting setting for an exhibition that so thoughtfully bridges past and present. Alongside its carefully curated galleries, the museum also features exhibits on local history and a beautiful heritage garden—one I am very much looking forward to visiting in the spring.
In the end, my only critique of the show is that I wanted more. The exhibition left me eager for additional unexpected pairings with historical objects and deeper explorations of this rich dialogue between eras. I applaud the curatorial team for creating such a thoughtful and engaging experience where past and present meaningfully intersect. I hope future exhibitions will continue in this vein, perhaps incorporating an even broader range of mediums and interpretations to further expand these creative conversations across time.
Susan Wallis is an encaustic artist, teacher, and curator, and the owner of Melt Studio and Gallery at Base31. While the gallery is primarily open by appointment only until spring, Melt Studio and Gallery will be opening its doors during March Break and Easter weekend with their group show, Oh, Canada… I Love You. March 14th, 15th, 21st and 22nd Noon- 4:30pm and Easter Weekend April 4th & 5th Noon- 4:30 pm
meltstudiogallery.com susanwallis.com
